GCMEAdjustable ceiling light, 1960s Acrylic, brass, painted metal. 100 cm drop, 134 cm diameterManufactured by GCME Costruzione Elettrolampadari, Italy.Footnotes:ProvenanceG.C.M.E. Costruzione Elettrolampadari, ItalyAcquired directly from the above, 2001Private collection, Vezzano LigurePrivate collection, MilanAcquired from the above by the present ownerThis lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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PAAVO TYNELL Adjustable ceiling light, model no. A1965/10202, 1950sBrass, perforated brass, fabric diffusers.Each: 45 cm diameter, variable dropManufactured by Taito Oy, Finland.Footnotes:ProvenancePrivate collection, HelsinkiPrivate collection, SeinäjokiAcquired from the above by the present ownerLiteratureTAITO, no. 16, Helsinki, late 1940s, n.p.Ornamo, no. 13, 1949, p. 72Valaisimia Luettelo, no. 135, Helsinki, 1953, p. 9'High Lights of a Lighting Genius', Life, 12 December 1960, p. 57Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, New York, n.p.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
PAAVO TYNELLAdjustable ceiling light, model no. A1965/10202, 1950sBrass, perforated brass, fabric diffusers.Each: 45 cm diameter, variable dropManufactured by Taito Oy, Finland.Footnotes:ProvenancePrivate collection, HelsinkiPrivate collection, SeinäjokiAcquired from the above by the present ownerLiteratureTAITO, no. 16, Helsinki, late 1940s, n.p.Ornamo, no. 13, 1949, p. 72Valaisimia Luettelo, no. 135, Helsinki, 1953, p. 9'High Lights of a Lighting Genius', Life, 12 December 1960, p. 57Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, New York, n.p.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Gino SarfattiRare and adjustable wall light, model no. 175, designed 1948 135 cm fully extendedPainted brass, brass. Manufactured by Arteluce, Milan, Italy.Footnotes:ProvenanceGino Sarfatti, Milan Thence by descent to the present ownerLiteratureMarco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 140, 403For further information on this lot please visit Bonhams.com
![* Saul Cathcart [Contemporary]-Warm evening glow and distant light over Great Staple Tor, Dartmoor,:-signed bottom right, fur](https://cdn.globalauctionplatform.com/adefc9e7-750e-48ff-82ca-ad23011e6f2c/e134a089-2048-48d5-956c-ad25010e506e/468x382.jpg)
Widdicomb designed by T. H. Robsjohn-GibbingsTrue Grand Rapids Cabinetmaking; A modern circular coffee table with halo ring stretcher, 122cm diameter; 33cm high, together with a small square occasional table, American Design Foundation Calvin furniture Co., 46cm wide; 40 high (2)Condition report: The circular Widdicomb table in good order. A few minor scuffs and dents in small areas to the edges, stretcher and feet. The odd minor light shrinkage crack to the veneers along the rim of the table top. The second table in good order with very minor wear, commensurate with age and use.
A pair of mahogany framed square back armchairsIn the manner of Holland & Son, on turned supports, 67cm wide; 80cm deep, approximately; 101cm high; 50cm high to seat (2)The chair seat is 50cm high from the ground. Minor scuffs, a few small nicks and chips and general light wear commensurate with age and use. Dust sheets to the underside of the chairs concealing the rails. These chairs are probably circa 1980/90.
A Regency mahogany chestWith four long graduated drawers, 100cm wide; 55.5cm deep; 81cm highCondition report: Later replacement handles. Light veneer loss to the top front edge and bottom of the side, visible in the catalogue photograph.Minor, light warp to the carcass beneath the top veneer. Some fading, wear, scuffs and scratches commensurate with age and use.
A late Victorian hounds tooth print upholstered Chesterfield sofaOn turned ebonised supports, 205cm wide; 66cm highCondition report: With scroll arms. The fabric is slightly worn and probably lighted faded, but the nature of it is quite light in tone. Legs later black painted with a varnished finish, several scuffs and rubbed parts. On castors. Dust sheet concealing seat rails.
A grey-painted rectangular two door armoire119cm wide; 206cm highOverall in good condition. Scuffed and stripped back surfaces. Other light scuffs commensurate with age and use.Loose pine bottom board. One key. Inside there is one shelf.Doors and cornice are removable otherwise in one piece, it will not break down
A white painted aluminium floral cast garden benchWith lattice seat, 109cm wide; 76cm highCondition report:Chips and flaking to paint work commensurate with age, use and exposure to the outdoor elements. Some natural green lichens, dirt to the surfaces. Minor patches of oxidisation to the stretcher. Otherwise in good condition. As this is composed of aluminium the seat is relatively light in weight.
A group of seven pieces of Chinese Imari porcelain18th centuryeach painted with floral subjects, comprising: a sprinkler, 19cm high; a blue-ground saucer dish, 29cm diameter; a plate, 21.5cm diameter; two bowls and two saucers (7)Sprinkler- chips to rimSaucer dish- haircracks to rim. Some wear.Plate- fine haircrack to the rim.Minor wear.Bowl, 20cm diameter- 3 haircracks to the rim and a starcrack to the sides.Bowl- 14.75cm diameter- some light surface wear to the interior.Saucers- both with haircracks. One with chip to rim. Each with metal hanger.
A rare Chinese famille-rose opium pipe19th centuryof cylindrical form in two parts, painted with figures in an extensive landscape, a frog in relief emerging from breaking waves beside the white metal mount, the ivory ends carved with flowers and gourds, the later terracotta bowl with signature, 56cm lengthSome overall minor wear to enamels. Some light surface scratches in places and some specking to the glaze. There are two chips to the neck of the bowl which slots into the metal mount. Small chips around edge of one porcelain cylinderThis is part of the Charles Finch Collection of smoking pipes. The rest of the collection to be offered on Tuesday, 25th May
An unusual Japanese lacquer three-case saya inroEdo period, 19th centurythe saya inlaid in enamel with a bird flying over a shibayama style riverbank, the inro decorated with flowers, the ends in nashiji, 8cm high Very fine crack/scratch to the lacquer immediately above the bird's left wing.It is not visible on the interior wall. Tiny losses to the applied decoration on the riverbank. Some very light wear to the inro
A Chinese hanging scroll and another scrollthe first printed with a mountainous landscape beneath lines of calligraphy and seals, 88cm by 27cm; the second scroll printed with calligraphy on a speckled gold ground, 64cm by 129cm (2) 6815, 6816The mountain scroll with discolouration to the paper, some stains and markingsThe calligraphy scroll with a tear to bottom right corner. Some light staining in places
Follower of Andrea Locatelli (18th Century)An Arcadian landscape with cattle drovers, a river and a castle beyondoil on canvas82 x 56cm ProvenancePrivate Collection, Sweden since circa 1963Thence by descentCondition reportOriginal canvas. The paint surface is dirty, mainly due to a discoloured varnish. Traces of craquelure pattern visible on close inspection, other minor surface stains but generally paint surface is sound. Ultraviolet light reveals traces of retouching to frame abrasions and one small spot, lower left, however an opaque varnish prevents conclusive examination. Held in a plaster gilt frame, generally sound but some chips to giltwork.
English School, 18th CenturyPortrait of a gentlemanoil on canvas72 x 58cmCanvas relined. Scattered craquelure to paint surface, with some surface abrasions and an area of paint shrinkage, lower left. Ultraviolet light reveals retouching just off the upper, centre border, to repairs, lower left and to some frame abrasions.
John Simpson (British, 1782-1847)Self Portraitbears labels (verso)oil on board28 x 23.5cmProvenanceThe family of the artist, thence by descentPrivate collection, UKInscribed on a label attached to the reverse, 'Self Portrait by John Simpson (1782-1847), My great great grandfather. John Simpson was for many years assistant to Sir Thomas Lawrence R.A. 1834 went to Lisbon. Appointed painter to Queen of Portugal. For the National Gallery "Negro's Head", @ Windsor Castle Portrait of the Duke of Brunswick. GGF 1949.'Further inscribed on fragments of an older label '***son's portrait, painter *** by himself *** artist who *** and finished all Sir Thomas ***ence's pictures after his death.'FootnoteSimpson was born in London and went on to study at the Royal Academy, before becoming a studio assistant to Sir Thomas Lawrence (1769-1830). The influence of Lawrence's style is striking but, despite his relative obscurity, Simpson enjoyed a large degree of success in his own right, painting William IV (1765-1837), Sir John Fleming Leicester (1762-1827) as well as artist Clarkson Stanfield (1793-1867). Simpson's painting, 'The Captive Slave', acquired in 2008 by the Art Institute of Chicago, was described by Art Historian Martin Postle as '... a painting of iconic status, which can be regarded today as his masterpiece and as worthy emblem of the aims and achievements of the Abolition Movement.'Condition ReportThe board is sound.Paint surface is generally sound, some minor scattered lines of craquelure, visible on close inspection. Also traces of an uneven varnish.Ultraviolet light confirms uneven varnish and reveals minor infilling to sitter's face and some retouching to frame abrasions off upper border. Held in a plaster gilt frame in fair condition.
George Henry Harlow (British, 1787-1819)Portrait of Sarah Siddonsbears labels (verso)oil on canvas90.5 x 69.5cmCanvas relined. The paint surface has a discoloured varnish, with scattered surface stains and marks, and is also thin in areas. Ultraviolet light reveals no sign of retouching however the varnish prevents a more accurate reading.
Abraham Hulk Snr (Dutch, 1813-1897)Fishing boats on a beach; and a companion, a paireach signed 'A Hulk' (one lower left, one lower right)oil on canvaseach 19 x 29.5cm(2)ProvenanceOmell GalleriesPrivate collection, UKA little craquelure to one. Both have a little surface dirt but generally their appearance is good.Inspection under UV light reveals some possible minor retouching. An opaque varnish prevents further closer readings.
Jan Baptist Kobell II (Dutch, 1778-1814)A herdsman with cattle in a landscape, a town beyondsigned and dated 'J Kobell 1809' (lower right)oil on panel32 X 27.5cmCraquelure visible. A pale white diagonal line visible to right of the white cow. Some other very fine horizontal lines visible in places. A few small dark marks/spots. Some possible retouching in places, including to centre right.Inspection under UV light reveals some small areas of retouching. An opaque varnish prevents closer inspection.Frame generally good.
E*** Ronel (British, 19th Century)Two figures on a country lane; and a companion, a paireach signed 'E Ronel' (lower right)oil on boardeach 23 x 33.5cm(2)Condition reportBoard is sound. Paint surface has light surface dirt, one small abrasion, upper right. Ultraviolet reveals spots of retouching to the central tress and horizon line; some further fluorescence to darker pigments but this is likely to be the hand of the artist. Held in a plaster gilt frame in fair condition.
Nicolae Grigorescu (Romanian, 1838-1907)A woman at her bureausigned 'Grigorescu' (lower left) oil on canvas41 x 28cmProvenanceViorel Tilea (1896-1972), Romanian Ambassador to the United KingdomThence by descentCondition reportThe canvas is original and very slightly loose on the stretcher. The paint surface has minor surface dirt; small flecks of paint loss to upper right corner and off right hand border. Some thin paint, surface scuffing to lower left corner.Ultraviolet light reveals no sign of retouching
John Brett (British, 1831-1902)Giltarinscribed and dated 'Giltar July 28 79' (lower right)oil on canvas18 x 36cmFootnoteIn 1879 Brett took a cottage for three months from the beginning of July in the small village of Penally near Tenby, in order to explore and paint the Pembrokeshire coast. The view in this sketch is of Giltar Point, close to their cottage, with Caldy Island in the distance.We are grateful to Charles Brett for his assistance in cataloguing this work.Condition reportOriginal canvas. Light surface dirt to borders, upper right and left, otherwise paint surface is sound. Ultraviolet reveals no signs of retouching. Framed and under glass, old marks and scratches to giltwork, unexamined out of frame.
John Brett (British, 1831-1902)Holyhead Mountaininscribed and dated 'Holyhead Mountain 31 July 83' (upper right)oil on canvas18 x 36cmFootnoteBrett acquired his 210-ton schooner 'Viking' in 1883, partly as a floating studio. Later that year he set out with his family and a crew of twelve on an epic voyage round the coast of Britain. By July 27th they had reached the busy port of Holyhead, where they remained at anchor until August 2nd, to take on supplies before proceeding up to Scotland. The 'Viking' log records that Brett painted this sketch from his little studio in the deckhouse.LiteraturePAYNE, Christiana, & BRETT, Charles, John Brett, Pre-Raphaelite Landscape Painter, Yale University Press 2010, No. 1011We are grateful to Charles Brett for his assistance in cataloguing this work.Condition ReportOriginal canvas.Paint surface is clean and sound; one small abrasion, to cloud, upper left.Ultraviolet light reveals no sign of retouching. Under glass and held in plaster gilt frame with some old marks and scratches, unexamined out of frame.
Adolphus Knell (Dutch, active 1860-1890)Fishing boats and other shipping at dawn; Fishing boats and other shipping at duska paireach signed 'Adolphus Knell' (lower right)oil on board25 x 35cm(2)Condition reportDawn:Board is generally sound other than a light surface abrasion, upper right; traces of an uneven varnish. Ultraviolet reveals scattered retouching in the sky; some infilling to foreground. Held in plaster frame in fair condition.Dusk:Board is generally sound. Paint surface is clean and sound. Ultraviolet reveals scattered retouching to the sky and a few spots to foreground. Held in plaster frame in fair condition.
A David Linley Co.; an oak, burr walnut and marquetry inlaid book boxModernWith internal hinged stand, inlaid name and stag32cm square; 10cm highThis box was originally sold with a copy of David Linley’s first book Classical Furniture.Condition report:- Overall in good condition, with minor surface scratches and light wear
A pair of French gilt-metal and white marble ten-light candelabra20th CenturyIn the Louis XVI style, the scroll branches above fruiting swag vines, raised on a triform base83cm highCondition report:- Piece of scroll missing from one of the branches- Some of the scroll branches are rather bent/misshapen and loose- 1 of the roundels to the base requires reattaching - Numerous chips to the edges of the marble- Would benefit from a good clean
A pair of French gilt-metal and porcelain five light candelabra20th CenturyThe branches modelled as roses, above a porcelain baluster urn painted with birds against a blue ground, in the Sevres style78cm high (2) Condition report:- Restoration to the porcelain to the gilded cartouche surrounding one of the scenes- Detail the floral decoration on the gilding has mostly rubbed- Solder repair to the central branch beneath the flower- Would benefit from a good clean
LINLEY LONDON; A pair of mahogany candlesticksModernOf truncated columnar form, on stepped square bases with inset metal plaque detailed 'LINLEY LONDON'20cm high (2)Condition report:Light and very minor scuffs and scratches commensurate with use and age. Metal work in good order, with a few light scuffs and scratches. Internal glass liners, which can easily fall out if sticks turned upside down.
LINLEY; Two sycamore and Macassar ebony photograph framesModernOne 8x10", the other 6x4"The larger, 34.5cm x 29.5cm overall, the smaller, 21cm x 26cm overall (2)Condition report:Overall in good condition, with a few light scuffs and scratches commensurate with use and age. Most notably, minor surface scratches to the larger frame, mostly to the top right and the odd scratch to the lower left, commensurate with use an age. See additional images.Both marked Linely to the clip and easel hinge. The metal work requires a light clean to remove thumb marks.
A pair of gilt-metal and white marble chenetsIn the Louis XVI style, 20th CenturyModelled as urns with rams' head masks; and a gilt-metal fire curb with pierced friezeChenet, 47cm high; curb, 74cm wide (3)Condition report: Overall, some light scuffs, scratches and light rubbing to gilding and tarnishing commensurate with age and use.
A French gilt-metal and porcelain clock garnitureLate 19th CenturyThe mantel clock of architectural form, with blue painted porcelain panels and dial, in the Sevres style, the movement detailed 'G. F. 148' and striking on a bell; together with a pair of three light candelabra en suiteClock, 36cm high; candelabra, 38cm highCondition report: As can be seen from the online photograph the one candelabra arms are need to be straightened and currently the upper half is not sitting vertically. The two scroll branches making up the side arms are loose and require refixing to the base of the central shaft. The other candelabra is missing a liner to the inside of the candle nozzle (as can be seen the far left of the photograph). The toupie feet of both candelabra are stamped 'G.G'There is no winding key present with the lot. There is no guarantee of the working order of the clock movement. Overall, the gilding is bright. Some minor casting flaws in the odd place, minor spots of tarnishing, scuffs and scratches, together with some wax residue in areas commensurate with age and use.Dial with no glass. Porcelain mounts in good order. The gilding to the decoration of the centre of dial is slight rubbed, also visible in the photograph.
A rosewood 'press'/'squeezer'Mid 19th CenturyThe brass hinge stamped 'WILL & FINCK S.F. CAL', the handles terminating with bone finials25cm long Condition report:Overall in good condition. A few minor small scuffs and dents to the edges as to be expected with use and age, together with a few light surface marks, including a few scratches to the inside of the press. Residue of two old sticky labels to each side, which can be cleaned off. Finials with some light shrinkage cracking and light dirt in places. Slight tarnishing to brass mounts, rubbing and wear commensurate with use and age.
A portrait miniature of a lady (2)English School, late 19th centuryDepicted bust length, wearing a black dress and choker, watercolour on ivory, mounted in a leather case, together with another of the same, both unsigned (2)The first, 8cm wide: 9.5cm highCondition report:The first displayed in a leather case with folding velvet lined sides. The portrait is not covered by glass. Some slight warping to the ivory ground, mostly a slight lift to the right side. Some variation in surface finish, from a matt surface to a light sheen. A slight mark to the background over the left shoulder of the sitter. Edges of the gilt card mount worn and frayed. Wear to velvet lining in areas, consistent with age and use. Marks and scuffs to the leather case, dirt and wear. An easel support the reverse. The second is the same sitter. The black paint is flaking extensively towards the bottom of the portrait and over her choker. The very thin sheet ivory surface is glued on to card, the reverse of which has the remains of a printed applied label ‘Portrait Painters Tuck’. Later frame - dirt, dust and minor tarnishing commensurate with age and use.
Sir Winston Churchill's brandy balloon, circa 1960With large tulip shaped bowl decorated in white enamel with monogram WSC, outlined in gilding, signed E Pope, with plain stem and foot, 21cm highFootnote:This superb brandy glass, along with lots 665 and 667, has come to light following the sale of another from the set, sold in these rooms, Tuesday 9th March 2021, lot 710. They are offered for sale for the first time, having come directly from a branch of the Churchill family. The original set consisted of six such balloons, the whereabouts of the remaining two is currently unknown.Provenance:Sir Winston Churchill and thence by family descent.
A pair of brass and etched glass nautical wall lightsBy Banksway, circa 1930Each stamped 'Banksway B444' and 'Rd 800286', modelled as a ship's bow with a figurehead and lantern finials, with three graduated coloured etched glass sail shades 47cm highCondition report:- Each with one light fitment. - Several chips to the corners of the glass shades, with some loss of colouring and insecurely fitted; some lacking screws - three in total, and some are later associations. - Metal a little tarnished and dirty, would benefit from cleaning.
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